seamus dubhghaill

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Tag Archives: Tadhg Ó Donnchadha


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Death of Máirtín Ó Direáin, Irish Poet

Máirtín Ó Direáin, Irish poet, dies in Dublin on March 19, 1988.

Ó Direáin is born on November 26, 1910, in Inis Mór, Aran Islands, County Galway, the eldest of the three sons and one daughter of Seán Ó Direáin, a small farmer, and Mairéad Ní Dhireáin (widow of Labhrás Mac Confhaola), both of Inis Mór. His father dies in 1917, aged forty-three, leaving his mother to rear a family of four on less than 20 acres of land. Educated at the local national school, he leaves Aran to join the post office in Galway in January 1928.

Ó Direáin is involved with the Irish language movement during the late 1920s and 1930s, during which time he is secretary of the Galway branch of the Gaelic League and writes for and acts on the stage of the Taibhdhearc Theatre. In July 1937 he moves to Dublin to work as a clerical officer in the Department of Posts and Telegraphs and later in the Department of Education. Inspired by a lecture given by the poet and Gaelic scholar Tadhg Ó Donnchadha, he begins writing poetry in Irish in the winter of 1938. Unlike Ó Donnchadha, however, who advocates and practises a poetry based on traditional Gaelic metres, he favours a rhythmically measured form of free verse. He publishes his first collection, Coinnle geala, in 1942, quickly followed by Dánta aniar (1943), both at his own expense. In 1949, a volume of selected poems, Rogha dánta, is one of the first books published by the newly founded Irish language publisher Sáirséal agus Dill.

These books herald not just a new voice, but a new generation of modern poets in Irish, distinct in outlook and ambition from most of the revivalist poets who precede them. The leading figures of this generation, Ó Direáin, Seán Ó Ríordáin and Máire Mhac an tSaoi, all publish poems in various Irish language journals during the 1940s, though the latter two poets do not produce their first collections until the 1950s. Ó Direáin’s poetry is less thematically and linguistically adventurous than that of Ó Ríordáin (whom he nevertheless defends in print against the dogmatic criticism of Ó Ríordáin’s traditionalist detractors), and less consciously indebted to tradition than that of Mhac an tSaoi.

Ó Direáin’s early lyrics celebrate the traditional virtues of island life and mourn its passing because of increasing modernisation and population shifts toward the major cities. One of the best known of these poems, “Stoite“ (“Uprooted”), sets up a gloomy contrast between a traditional life in tune with nature’s rhythms, destined to endure in communal memory, and the fruitless urban existence of the contemporary office worker. This theme of uprootedness haunts his work throughout the 1950s and early 1960s. During this period he publishes his two most significant collections, Ó Mórna agus dánta eile (1957) and Ár ré dhearóil (1962), both of which take their titles from ambitious, and uncharacteristically long, poems. Ó Mórna, a poem of which there are two published versions, charts the colourful life of a proud, amoral tyrant, a figure based loosely on traditional accounts of a hard-living nineteenth-century landlord’s agent from Aran. Ó Mórna represents, in the poet’s view, the timeless Übermensch whose will to power is boundless and awesome. Ár ré dhearóil (“Our wretched era”) is an excoriation of the loveless hedonism of a middle-class Dublin populated by lonely bachelors, bitter spinsters, and immoral, though free-spirited and well-educated, women. The poem, which ends with an ominous if oblique warning against the threat of nuclear annihilation, bears some comparison with T. S. Eliot‘s “The waste land.” Eliot, Ezra Pound and W. B. Yeats are key influences alongside the canonical figures of seventeenth- and eighteenth-century Gaelic poetry. His strong social conscience is registered early on in poems such as “An Stailc“ (“The strike“). His life-long adherence to traditional nationalist values and his scornful attitude to what he perceives as the mercenary embrace of American-style capitalism in the changing economic climate of Ireland in the 1960s is most trenchantly voiced in poems such as “Éire ina bhfuil romhainn” (“Ireland in times ahead”) and “Mar chaitheamar an choinneal” (“As we spent the candle”).

Ó Direáin is an active member of the Irish language literary groups Cumann na Scríbhneoirí and Cumann na hÉigse, and publishes essays on a variety of topics throughout the 1940s and 1950s in magazines such as Ar Aghaidh, An Glór, Comhar and Feasta. A selection of mostly autobiographical essays, Feamainn Bhealtaine (1961), casts valuable light on the Aran of his youth and early adulthood. He is registrar for the National College of Art (1948–55), where he gets to know such prominent artists as Seán Keating, Maurice MacGonigal and Nano Reid, whose artwork adorns Rogha Dánta. From 1955 until his retirement from the civil service in 1975, he is a staff officer in the Department of Education. Cloch choirnéil appears in 1966, followed by Crainn is cairde (1970) and Ceacht an éin (1979).

The most comprehensive selection of Ó Direáin‘s poetry, Máirtín Ó Direáin: dánta 1939–1979 (1980), edited by Eoghan Ó hAnluain, covers all but two final volumes, Béasa an túir (1984) and Craobhóg dán (1986), neither of which add much of major significance to his oeuvre. A bilingual selection, Selected poems: Tacar dánta (1984), includes translations by Tomás Mac Síomóin and Douglas Sealy. In 1969, Ó Direáin delivers a series of lectures on his own work at University College Dublin (UCD), later edited by Eoghan Ó hAnluain as Ón ulán ramhar siar (2002), which provides useful background information on many individual poems. He receives the Irish American Cultural Institute (IACI) award in 1967 and is made a member of the Irish Academy of Letters in 1970. In 1977, he receives an honorary Doctor of Letters degree from the National University of Ireland and the Ossian-Preis of the Freiherr von Stein Foundation in Hamburg. He is a full-time visiting lecturer in the department of Irish at University College Galway for the academic year 1978–79. He was also a member of Aosdána.

Ó Direáin marries Áine Colivet, a Dubliner of French extraction, in 1945. Their only child, Niamh, is born in 1947. He dies in Dublin on March 19, 1988.

A selection of Ó Direáin’s essays, An chuid eile díom féin, edited by Síobhra Aiken, and a bilingual volume of poems Máirtin Ó Direáin: Selected poems/ Rogha dánta, translated by Frank Sewell, are both published in 2018.

(From: “Ó Direáin, Máirtín” by Caoimhín Mac Giolla Léith, Dictionary of Irish Biography, www dib.ie, October 2009, last revised March 2021)


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Birth of Máire Ní Chinnéide, Language Activist & Playwright

Máire Ní Chinnéide (English: Mary or Molly O’Kennedy) Irish language activist, playwright, first president of the Camogie Association and first female president of Oireachtas na Gaeilge, is born in Rathmines, an affluent inner suburb on the Southside of Dublin, on January 17, 1879.

Ní Chinnéide attends Muckross Park College and the Royal University of Ireland (later the National University of Ireland) where she is a classmate of Agnes O’Farrelly, Helena Concannon, and Hanna Sheehy-Skeffington. She learns the Irish language on holiday in Ballyvourney, County Cork, and earns the first scholarship in Irish language from the Royal University of Ireland, worth £100 a year, which is spent on visits to the Irish college in Ballingeary.

She studies in the school of Old Irish established by Professor Osborn Bergin and is strongly influenced by the Irish Australian professor O’Daly. She later teaches Latin through Irish at Ballingeary and becomes proficient in French, German, Italian and Spanish.

She spends the last £100 of her scholarship on a dowry for her marriage to Sean MacGearailt, later first Accountant General of Revenue in the Irish civil service, with whom she lives originally in Glasnevin and then in Dalkey.

She is a founder member of the radical Craobh an Chéitinnigh, the Keating branch of Conradh na Gaeilge, composed mainly of Dublin-based Kerry people and regarded, by themselves at least, as the intellectual focus of the League.

In August 1904, some six years after the establishment of the earliest women’s hurling teams, the rules of camogie (then called camoguidheacht), first appears in Banba, a journal produced by Craobh an Chéitinnigh. Camogie had come to public attention when it was showcased at the annual Oireachtas (Conradh na Gaeilge Festival) earlier that year, and it differed from men’s hurling in its use of a lighter ball and a smaller playing-field. Ní Chinnéide and Cáit Ní Dhonnchadha, like Ní Chinnéide, an Irish-language enthusiast and cultural nationalist, are credited with having created the game, with the assistance of Ní Dhonnchadha’s scholarly brother Tadhg Ó Donnchadha, who drew up its rules. She is on the first camogie team to play an exhibition match in Navan, County Meath, in July 1904, becomes an early propagandist for the game and, in 1905, is elected president of the infant Camogie Association.

Ní Chinnéide later serves as Vice-President of Craobh an Chéitinnigh, to Cathal Brugha. She is active in Cumann na mBan during the Irish War of Independence and takes the pro-treaty side during the Irish Civil War and attempts to set up a woman’s organisation “in support of the Free State” alongside Jennie Wyse Power.

She first visits the Blasket Islands in 1932 with her daughter Niamh, who dies tragically young. In the summer of 1934, she puts the idea into Peig Sayers‘s head to write a memoir. According to a later interview with Ní Chinnéide “she knew and admired her gift for easy conversation, her gracious charm as a hostess, her talent for illustrating a point she was making by a story out of her own experience that was as rich in philosophy and thought as it was limited geographically.” Peig answers that she has “nothing to write.” She had learned only to read and write in English at school and most of it has been forgotten.

Ní Chinnéide suggests Peig should dictate her memoir to her son Micheal, known to everyone on the island as An File (“The Poet”), but Peig “only shook her head doubtfully.” At Christmas, a packet arrives from the Blaskets with a manuscript, she transcribes it word for word and the following summer brings it back to the Blaskets to read it to Peig. She then edits the manuscript for the Talbot Press. Peig becomes well known as a prescribed text on the Leaving Certificate curriculum in Irish.

Ní Chinnéide has an acting part in the first modern play performed in Irish on the stage, Casadh an tSugáin by Douglas Hyde in 1901. She is later author of children’s plays staged by An Comhar Drámuidhachta at the Oireachtas and the Peacock Theatre, of which Gleann na Sidheóg and An Dúthchas (1908) are published. She is a broadcaster in Irish on 2RN, a wholly owned subsidiary of Raidió Teilifís Éireann, after its foundation in 1926 and author of a translation of Grimms’ Fairy Tales (1923). She is president of the Gaelic Players Dramatic group during the 1930s and a founder of the Gaelic Writers Association in 1939.

She soon becomes interested in writing children’s plays, including Gleann na Sidheóg (Fairy Glen, 1905) and Sidheoga na mBláth (Flower Fairies, 1909. Although there is little information available on the staging of her first play, by the time her second children’s play, Sidheóga na mBláth, is published in An Claidheamh Soluis in December 1907, “Éire Óg” (“Young Ireland”) branches of Conradh na Gaeilge have been established in conjunction with adults’ branches. Patrick Pearse in particular voices the expectation that this play will be staged by many “Éire Óg” branches “before the New Year is very old,” thus indicating the immediate take up of such plays. Indeed, a week after the play’s publication, it is staged in the Dominican College in Donnybrook, Dublin, where Ní Chinnéide had spent several years as an Irish teacher.

Ní Chinnéide dies on April 25, 1967, and is buried in Dean’s Grange Cemetery.

In 2007 the camogie trophy (Máire Ní Chinnéide Cup) for the annual inter-county All-Ireland Junior Camogie Championship is named in her honour.

(Pictured: Máire Ní Chinéide at her graduation, photograph from Banba, 1903)


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Death of Piaras Béaslaí, Author, Playwright & Politician

Piaras Béaslaí, author, playwright, biographer and translator, who is a member of the Irish Republican Brotherhood (IRB), fights in the Easter Rising and serves as a member of Dáil Éireann, dies on June 22, 1965.

Béaslaí is born Percy Frederick Beazley in Liverpool, England on February 15, 1881, to Irish Catholic parents, Patrick Langford Beazley, originally from Killarney, County Kerry, and Nannie Hickey, from Newcastle West, County Limerick. During his summer holidays in his younger years, he spends time in Ireland (near Kenmare, County Kerry) with his paternal uncle, Father James Beazley, where he begins to learn the Irish language. He is educated at St. Francis Xavier’s College in Liverpool, where he develops his keen interest in Irish. By the time he is aged 17 his Irish proficiency is exceptional.

After finishing his education at St. Francis Xavier’s, Béaslaí is encouraged to begin Irish poetry by Tadhg Ó Donnchadha. He follows his father’s footsteps into journalism, initially working for the local Wallasey News. In 1906 he moves to Dublin, and within a year becomes a freelance writer for the Irish Peasant, Irish Independent, Freeman’s Journal and Express. He is offered a permanent position with Independent Newspapers, as assistant leader writer and special reporter for the Dublin Evening Telegraph. He writes regularly for the Freeman’s Journal, including a daily half-column in Irish.

After his early introduction to Irish poetry Béaslaí becomes involved in staging Irish-language amateur drama at the Oireachtas annual music festival. He begins to write both original works and adaptations from foreign languages. One of these works, Eachtra Pheadair Schlemiel (1909), is translated from German into Irish.

Later Béaslaí continues to write poetry, such as the collection “Bealtaine 1916” agus Dánta Eile (1920), and short stories such as “Earc agus Aine agus Scéalta Eile.” Between 1913 and 1939 he writes many plays, including Cliuche Cartaí (1920), An Sgaothaire agus Cúig Drámaí Eile (1929), An Danar (1929) and An Bhean Chródha (1931). He writes two books about his comrade Michael Collins: Michael Collins and the Making of a New Ireland (2 volumes, 1926) and Michael Collins: Soldier and Statesman (1937).

Béaslaí’s works revolve around the Irish language movement and the Irish Republican Army (IRA), focusing on the independence struggle of Ireland. He writes about these topics in newspapers such as the Standard and The Kerryman. His most notable work in newspapers during his later life includes his contribution to the Irish Independent, which publishes a section called ‘A Veteran Remembers’ five days a week from May 16 to June 1957, as well as a weekly section called ‘Moods and Memories’ on Wednesdays from May 24, 1961, to June 16, 1965.

One of the awards Béaslaí gains during his career is on August 14, 1928, a gold medal at the Tailteann Literary Awards. While in Dublin, he joins the Keating Branch of the Gaelic League, and after he moves to Ireland, he begins using the Irish form of his name, Piaras Béaslaí, rather than Percy Beazley.

Béaslaí is a founding member of the Irish Volunteers in 1913. In January 1916 he serves as a courier for political activist and revolutionary leader Seán Mac Diarmada. By the time of the Easter Rising that year, he is deputy commanding officer of the 1st Dublin Battalion. In an audio recording to which he contributes in 1958, he details his experience in the Rising, describing the rebels assembling before noon in Blackhall Street at battalion headquarters. After midday they march out to the Four Courts, erecting barricades as they do so. The Four Courts is his main station.

In the audio, Béaslaí recalls a green flag with a gold harp in the centre. This is the non-Sinn Féin flag at the time. He is in direct charge of the Four Courts area, and at one point during the fight he orders a complete blackout. He recalls, “things were going badly for the English soldiers” and describes the whole event as “a weird experience.” He remembers the streets being lit up with fires in the darkness as if it were bright as day. He speaks of the intensity of the firing line and then how it suddenly ceases on the Friday. He remembers falling asleep and when he awakens being presented with Patrick Pearse‘s order to surrender. The rebels are brought to Richmond Barracks. He then spends fifteen months in English prisons.

Béaslaí serves three years of penal servitude divided between a stringent HM Prison Portland and a more lenient HM Prison Lewes. He is then imprisoned two times within four months during 1919, both terms ending in celebrated escapes. After his final prison release, Michael Collins approaches him about editing An tOglach, the Irish Volunteer newspaper. This sees communication between GHQ and local volunteers drastically improve.

Later, Béaslaí becomes director of publicity for the Irish Republican Army, and at the 1918 Irish general election he is elected to the First Dáil as Sinn Féin MP for East Kerry. Sinn Féin MPs elected in the Westminster elections of 1918 refuse to recognise the Parliament of the United Kingdom, and instead assemble the following January at the Mansion House in Dublin as a revolutionary parliament, Dáil Éireann. Béaslaí is noted for his translation of the democratic programme of the First Dáil, which he reads aloud at the inaugural sitting.

Béaslaí is a member of the Sinn Féin party for five years. Between 1919 and 1921 he represents the East Kerry constituency in the First Dáil. Then, at the 1921 Irish elections, he is returned unopposed to the Second Dáil as a Sinn Féin Teachta Dála (TD) for Kerry–Limerick West. Following the signing of the Anglo-Irish Treaty, he is re-elected there unopposed at the 1922 Irish general election as a pro-Treaty Sinn Féin candidate, and is thus a member of the Third Dáil, which is Pro-Treaty at this stage. In 1922 he goes to the United States to explain the Treaty to Sinn Féin’s Irish American supporters. He does not contest the 1923 Irish general election.

Béaslaí and Con Collins share the distinction of having been elected in three Irish general elections unopposed by any other candidates.

During Béaslaí’s time in London, he gives a lot of his time to the Gaelic League. In the Keating branch of the league, in Ireland, he develops an interest in the IRB. Cathal Brugha, a branch member, asks him to join the IRB. The Keating branch is where Béaslaí meets Michael Collins, eventually introducing Collins to his cousin and fellow branch member, Elizabeth Mernin. He is also instrumental in establishing An Fáinne, an Irish-speaking league whose members vow to speak solely Irish among themselves and wear a membership badge of a circle. This coincides with his involvement in the IRB. His love of the Irish language gives him an opportunity to delve into his other hobbies. He writes for Banba, an Irish journal published by the Gaelic League. He is able to express his love for theatre, in the Gaelic League, forming a group of men called “Na hAisteoirí.”

Béaslaí dies, unmarried, at the age of 84 on June 22, 1965, in a nursing home in Dublin. He is buried in a plot in Glasnevin Cemetery, after a Requiem Mass in St. Columba’s Church, Iona Road, Glasnevin.